Ancient Pali texts liken meditation to the process of taming a wild elephant. The procedure in those days was to tie a newly captured animal to a post with a good strong rope. When you do this the elephant is not happy. He screams and tramples, and pulls against the rope for days. Finally it sinks through his skull that he can’t get away, and he settles down. At this point you can begin to feed him and to handle him with some measure of safety. Eventually you can dispense with the rope and post altogether, and train your elephant for various tasks. Now you’ve got a tamed elephant that can be put to useful work. In this analogy the wild elephant is your wildly active mind, the rope is mindfulness, and the post is our object of meditation—breathing. The tamed elephant who emerges from this process is a well trained, concentrated mind that can then be used for the exceedingly tough job of piercing the layers of illusion that obscure reality. Meditation tames the mind.
The next question we need to address is: Why choose breathing as the primary object of meditation? Why not something a bit more interesting? Answers to this are numerous. A useful object of meditation should be one that promotes mindfulness. It should be portable, easily available and cheap. It should also be something that will not embroil us in those states of mind from which we are trying to free ourselves, such as greed, anger and delusion. Breathing satisfies all these criteria and more. Breathing is something common to every human being. We all carry it with us wherever we go. It is always there, constantly available, never ceasing from birth till death, and it costs nothing.
Breathing is a non-conceptual process, a thing that can be experienced directly without a need for thought. Furthermore, it is a very living process, an aspect of life that is in constant change. The breath moves in cycles—inhalation, exhalation, breathing in and breathing out. Thus it is miniature model of life itself.
The sensation of breath is subtle, yet it is quite distinct when you learn to tune into it. It takes a bit of an effort to find it. Yet anybody can do it. You’ve got to work at it, but not too hard. For all these reasons, breathing makes an ideal object of meditation. Breathing is normally an involuntary process, proceeding at its own pace without a conscious will. Yet a single act of will can slow it down or speed it up. Make it long and smooth or short and choppy. The balance between involuntary breathing and forced manipulation of breath is quite delicate. And there are lessons to be learned here on the nature of will and desire. Then, too, that point at the tip of the nostril can be viewed as a sort of a window between the inner and outer worlds. It is a nexus point and energy-transfer spot where stuff from the outside world moves in and becomes a part of what we call ‘me’, and where a part of me flows forth to merge with the outside world. There are lessons to be learned here about self-concept and how we form it.
Breath is a phenomenon common to all living things. A true experiential understanding of the process moves you closer to other living beings. It shows you your inherent connectedness with all of life. Finally, breathing is a present-time process. By that we mean it is always occurring in the here-and-now. We don’t normally live in the present, of course. We spend most of our time caught up in memories of the past or leaping ahead to the future, full of worries and plans. The breath has none of that ‘other-timeness’. When we truly observe the breath, we are automatically placed in the present. We are pulled out of the morass of mental images and into a bare experience of the here-and-now. In this sense, breath is a living slice of reality. A mindful observation of such a miniature model of life itself leads to insight that are broadly applicable to the rest of our experience.
The first step in using the breath as an object of meditation is to find it. What you are looking for is the physical, tactile sensation of the air that passes in and out of the nostrils. This is usually just inside the tip of the nose. But the exact spot varies from one person to another, depending on the shape of the nose. To find your own point, take a quick deep breath and notice the point just inside the nose or on the upper lip where you have the most distinct sensation of passing air. Now exhale and notice the sensation at the same point. It is from this point that you will follow the whole passage of breath. Once you have located your own breath point with clarity, don’t deviate from that spot. Use this single point in order to keep your attention fixed. Without having selected such a point, you will find yourself moving in and out of the nose, going up and down the windpipe, eternally chasing after the breath which you can never catch because it keeps changing, moving and flowing.
If you ever sawed wood you already know the trick. As a carpenter, you don’t stand there watching the saw blade going up and down. You will get dizzy. You fix your attention on the spot where the teeth of the blade dig into the wood. It is the only way you can saw a straight line. As a meditator, you focus your attention on that single spot of sensation inside the nose. From this vantage point, you watch the entire movement of breath with clear and collected attention. Make no attempt to control the breath. This is not a breathing exercise of the sort done in Yoga. Focus on the natural and spontaneous movement of the breath. Don’t try to regulate it or emphasize it in any way. Most beginners have some trouble in this area. In order to help themselves focus on the sensation, they unconsciously accentuate their breathing. The results is a forced and unnatural effort that actually inhibits concentration rather than helping it. Don’t increase the depth of your breath or its sound. This latter point is especially important in group meditation. Loud breathing can be a real annoyance to those around you. Just let the breath move naturally, as if you were asleep. Let go and allow the process to go along at its own rhythm.
This sounds easy, but it is trickier than you think. Do not be discouraged if you find your own will getting in the way. Just use that as an opportunity to observe the nature of conscious intention. Watch the delicate interrelation between the breath, the impulse to control the breath and the impulse to cease controlling the breath. You may find it frustrating for a while, but it is highly profitable as a learning experience, and it is a passing phase. Eventually, the breathing process will move along under its own steam. And you will feel no impulse to manipulate it. At this point you will have learned a major lesson about your own compulsive need to control the universe.
Breathing, which seems so mundane and uninteresting at first glance, is actually an enormously complex and fascinating procedure. It is full of delicate variations, if you look. There is inhalation and exhalation, long breath and short breath, deep breath, shallow breath, smooth breath and ragged breath. These categories combine with one another in subtle and intricate ways. Observe the breath closely. Really study it. You find enormous variations and constant cycle of repeated patterns. It is like a symphony. Don’t observe just the bare outline of the breath. There is more to see here than just an in-breath and an out-breath. Every breath has a beginning middle and end. Every inhalation goes through a process of birth, growth and death and every exhalation does the same. The depth and speed of your breathing changes according to your emotional state, the thought that flows through your mind and the sounds you hear. Study these phenomena. You will find them fascinating.
This does not mean, however, that you should be sitting there having little conversations with yourself inside your head: “There is a short ragged breath and there is a deep long one. I wonder what’s next?” No, that is not Vipassana. That is thinking. You will find this sort of thing happening, especially in the beginning. This too is a passing phase. Simply note the phenomenon and return your attention toward the observation of the sensation of breath. Mental distractions will happen again. But return your attention to your breath again, and again, and again, and again, for as long as it takes until it does not happen anymore.